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7 


Copyrighted by 

R. M. JOHNSON, 


NEW YORK. 


The Elements of Caricature. 


PRIMARY PRINCIPLES. 

Caricature may be either Distinctive or General: Distinct¬ 
ive when it is used to emphasize the peculiar characteristics of 
an individual, as instanced more particularly in political car¬ 
toons ; General when it is applied to the exaggerating of a 
figure or an object as a means of securing ludicrous effect, as 
exemplified in certain varieties of comic and grotesque drawing. 

Every object possesses certain individual characteristics, 
the accurate delineation of which produces a portrait —their 
exaggeration a caricature. It is therefore evident that the 
first step in the pursuit of either branch is to determine in what 
these peculiarities consist; for it is the facility with which they 
are seized and emphasized that proclaims the successful 
caricaturist. This on the surface would seem a simple matter, 
yet, although marks of individuality are for the most part pat¬ 
ent at a glance, in many cases it will be found extremely 
difficult to discern and express them without the aid of some 
standard or principle of comparison by which we may train our 
powers of perception to unerring accuracy. 

The grotesque and the beautiful are not produced by 
opposite means but by the eccentric application in the one 
of the same laws that govern the other. It is obvious therefore 
that distortion through ignorance is simply bad drawings 
but distortion with an understood motive and regulated by 
recognized laws is not only right but more truly ridiculous. 
Any school-boy’s slate will furnish some such production as 
Fig. i,—distorted and untrue ; and we have no means of know- 


2 . 



ing whether it is intended to be comic or is only the best the 
draughtsman could do. The same head understandingly drawn 
however, produces an entirely different impression and is defi¬ 
nite in its purpose.—(Fig. 2). 

Although caricature may be applied to any or all subjects, 
yet the human figure is by far the most important and the most 
popular ; as it is the most susceptible of such treatment and the 
most convenient to study : and he who masters the difficulties 
of the figure need have little hesitancy in encountering those 
of other objects, animate or inanimate. The cars, the ferry¬ 
boat, the street, our own homes furnish us with ever varying 
material, ready to our hand for reference and study ; and 
certainly no more interesting or more fruitful theme could well 
be found for the employment of our leisure moments. 

In the delineation of the front view of the face, the oval or 
egg-shape provides at once a suggestive outline for a basis of 


3- 


operations, and furnishes at the same time a recognized stand¬ 
ard of excellence. Applied to the oval are certain arbitrary lines 
and measurements, familiarity with which is of the first im¬ 
portance in establishing a ground-work for study. Few faces 
it is true fulfill the requirements of these lines, but it is the 
deviation from the standard that marks the individual, and these 
the eye must note and the hand record. 

The oval is first divided into four equal parts by horizontal 
lines, (Fig. 3). The upper line, (a,) indicates the highth of the 



forehead or limit of the hair. The centre line, (< b ,) passes 
through the upper lids of the eyes and touches the tops of the 
ears. The lower line, ( c ,) touches the lower points of the ears 
and of the nose. The space between the lower line and the bot¬ 
tom of the oval is again divided into two equal parts by a horizon¬ 
tal line, ( d ,) which marks the indentation above the chin ; and a 

















4- 


point half-way between this line and c indicates the central line 
of the lips. Certain perpendicular lines are of still further 
service in securing just proportion and position of feature. 
One of these divides the oval into halves which are again sepa¬ 
rated into four equal parts. The use and relation of these lines 
will be readily understood by a careful inspection of Fig. 3. 
This, as a standard, may appear a simple thing—but it is the 
simplicity of the alphabet, and like it must be imbedded in the 
mind till it amounts to an instinct. 

The head it must be remembered, is a solid, rounding body, 
not a flat surface. Supposing these lines therefore, to be 
actually drawn upon an egg, they would be straight only when 
viewed directly in front, as in Fig. 3. As the egg was turned 
to the right or left, up or down, they would assume correspond¬ 
ing curves, as in the following figures :— 

It will be noted that they thus readily suggest the actual 
pose of the head as well as define the position of the features 
under the altered circumstances. Let the reader follow out 
this suggestion and carefully copy the diagram, (Fig. 3,) upon the 


5 . 



Xv^b* 





































6 . 


surface of an egg, and then sketch the egg , lines and all, in the 
positions shown above, and variations of them. He will thus 
realize their meaning and value as he could not otherwise do. 

It will be readily seen that the more the egg is turned 
laterally the less perfect is the suggestion of the face and head, 
owing to the fact that indications of the projection of the 
features and back portion of the head are wanting. Some 
other form is therefore demanded that shall suggest the side 
view or profile. This requirement is met by the outlines of the 
skull itself. Fig. 8 shows the relation of the oval or face-shape 
to the form of the skull and the conformity of the details of 
form and feature to both. 



The horizontal lines are, of course, of equal value here in 
determining the position of the features, a central line being 
drawn to indicate the position of the ear. Reduced to the 
simplest outline that shall generally express the necessary truths. 















7 - 


we have a form like Fig. 9. Any change of pose, as in the 
former examples, is at once manifested in the corresponding 
curving of the facial lines—gradually changing from those of 
the profile form to those of the front face, (Fig. 10 and ii). 



It is the knowledge of principles such as these, condensed 
from experience, that enables the master hand, with a few 
lightning strokes, to cause a face or figure to spring almost 
magically from beneath the pencil into life and action. 

The diagrams thus formed should be thoroughly fastened 
in the mind, so they can be (mentally) applied to the different 
faces that pass under our observation, enabling us at once 
to determine the points of their conformity or non-conformity 
to them, and, by carefully recording our observations, succeed 
in producing a likeness. 

I would here suggest to the reader, if he or she be desirous 
of acquiring proficiency in this peculiarly interesting branch of 
art, to take a few pieces of paper and a pencil or pen, and 





8 . 


practice an hour or two a day on the foregoing diagrams, until 
any one of them can be drawn readily and accurately from 
memory. It is the basis, not only of caricature but of figure 
drawing generally, and will amply repay whatever labor may be 
expended upon it, whether as a graceful and entertaining ac¬ 
complishment, or as the first step on the road of knowledge. 

We often hear the remark that “such-a-one” ought to be 
able to draw for “it comes natural to him”—an entirely erron¬ 
eous assumption ; for however natural may have been the pecu¬ 
liar direction of mind , it never yet “came natural” to any one 
to use a pencil. Whatever proficiency there is results from 
practice and practice alone: though it is true that the greater 
the inborn love for a subject, the more untiring will be the en¬ 
deavor to master the means of expressing it. The truth there¬ 
fore is that a “genius” is forced to practice infinitely harder 
than any one else to keep pace with his “ impulses,” and hence 
he excels in execution—but that is no evidence of genius. The 
gift of genius will show itself in the application of principles— 
not in the mere proof of the knowledge of them. 

To debar ourselves from so valuable a source of pleasure 
and profit on the plea that we were not born a ready-made 
master, would be like refusing to study grammar because we 
recognized no evidence of the posession of the powers of a Scott 
or the genius of a Milton. Both drawing and writing are 
languages—means of expressing our thoughts and ideas and 
should go hand in hand. 

There is nothing treated of in this little essay but that any 
one can acquire by giving (systematically,) a half-hour out of 
the twenty-four to its practical study. 



9- 


Assuming the student to have thoroughly familiarized him¬ 
self with the general principles of the formation of the head 
and face, we will glance briefly at the body which supports it, 
—briefly, because, being, as regards our present purpose, of 
secondary importance, (the limitless details of dress and drap¬ 
ery for the rrost part obscuring the actual form,) it may be 
left to the student’s after and more careful consideration. 

The simplest set of lines which will suggest at once the 
proportions and “action ” of a figure are those composing the 
skeleton, (Figs. 12 and 14); and it is astonishing what varieties 



of posture may be suggested by these apparently meagre 
means—a dozen lines being sufficient to indicate the poise of a 



































IO. 



figure, while a few strokes by way of drapery give at once 
character and expression. Figs. 14 and 15. 




II. 



The principal proportions of a well formed figure are as 
follows : (see Fig. 13 ) 

The entire length of the figure is seven and one-half times 
the length of the head, or ten times the length of the face. 

The distance from finger-tip to finger-tip, (the arms being 
extended at right angles with the body,) equals the height. 

When the arms hang at the side, the ends of the fingers 
touch a point half way between the joints of the knee and the 
hfp. 

The width of the shoulders is twice the length of the 

face. 

The hand is the length of the face. 

The distance from the wrist bone to the inside of the elbow 
joint equals the length of the foot. 

The great toe, the thumb and the nose are of the same 

length. 

The hand is twice as long as it is broad. 

The width of the hand and of the foot are the same. 

The neck is half the circumference of the waist. 

The wrist is half the circumference of the neck. 








12 . 


A careful study (with pen or pencil,) of the following 
drawings will give the student sufficient general knowledge of 
the form and proportions of the different features for present 
use; advancement in which, as in all other details, will depend 
on his own observation and practice. 



A hint or two may here be apposite as to how to practice. 
The great trouble with the instructive literature of Art is its 
elaboration; too many facts tending to complication. The 
time for acquiring knowledge is youth and it is also the period 
when application to details is less natural and less advisable. 
Even in later life “one thing at a time ” is found to be the only 
successful method of accumulation. 

Take, for example, diagram No. 3 and endeavor, by com¬ 
paring it with the face of an acquaintance, and noting carefully 
the relation of one to the other, to sketch a likeness. First 
draw the diagram (Fig. 3,) accurately on paper, then sketch 
(taking the central or eye-line as a starting point,) the outline 
of the model upon it. The deviations of the lines of the model 
from those of the Standard are what constitute the character¬ 
istic points, and must be accurately reproduced. The secret 
of success is not to attempt any thing further until this can be 
done , as though it was the ultimate end and aim. 



13 - 


Having produced a satisfactory likeness thus, try the same 
face in profile, using Fig. 9 for the standard. Different posi¬ 
tions of the same head may then be attempted. Then follows 
the same discipline with different models. This advancing step 
by step, though apparently slow, is the only way of securing 
rapid progress. 

A good foundation, one stone at a time is necessary to any 
structure : embellishment comes afterward. 


14 . 


Application of Principles. 


It will at first be found somewhat difficult to fix these 
standard forms and lines so firmly in our minds that we can see 
them on the face of the subject. But practice will rapidly over¬ 
come the difficulty until the habit of comparison will result in 
wonderful facility and fidelity. 

Having once become apt at “catching'' a likeness by 
these aids, we will find it comparatively simple to exaggerate 
the points constituting it into grotesque and ridiculous simili¬ 
tudes : and the more accurate our knowledge, the more freedom 
may be given to our fancy and invention, till one not cogni¬ 
zant of the means employed, will be amazed at his own recog¬ 
nition of a face not one line of which is in the original. 

Let Fig. 16 represent the head of an individual whom we 
wish to caricature. Our first care is to obtain a likeness. By 
applying the standard, we note at once certain discrepancies 
which are characteristic. Taking as a starting point the central 
line of the eye, we find that the forehead is lower than the 
limit designated, the top of the head also. The nose is shorter. 
The lines of the cheek and of the flesh under the chin extend 
beyond those of the oval. By accurately reproducing these, 
and noting the general details of hair, direction of eyebrows, 
moustache, &c., we arrive at a portrait of the individual, and 
until this is successfully accomplished it is simply a waste of time 


15 - 



^ . 


to attempt anything more. Let us now try the effect of cari¬ 
cature. The principal characteristic that strikes us is the super¬ 
cilious and eminently self-satisfied air pervading the whole. As 
these are conveyed principally in the slope of the eyebrows 
and mouth, and in the corners of the nostrils, these points are to 
be forcibly expressed. The hair, being subject to any arrange¬ 
ment, may be greatly exaggerated. The lines of the cheek and 
chin but slightly, otherwise an appearance of extreme fatness 
would result which is not characteristic in this case. For the 
same reason the moustache should not be exaggerated in size 
—only in direction. The peculiarity of the collar makes the 
neck appear long. The eye-glass and hat do not impress us as 
being particularly larger than ordinary so we make them 
smaller. The same with the bow. Proceeding thus, exaggerat 









16. 




mg or attenuating, according as the details appear larger or 
smaller, and using judgment as to their value as characteristic 
points, we produce some such result as Fig. 17,—distorted it 
is true, but recognizable because the right things are distorted. 












17 * 





Fig. 18 furnishes one or two other examples of the con¬ 
formity of a face to the standard and the exaggeration of the 
characteristic points thus ascertained, into caricature. By 
studying these the reader will note the same principles ob- 



18. 





served. The exaggeration in these cases is not extreme, the 
intention being merely to indicate the proper method of mak¬ 
ing a beginning; but, having once determined on the salient 
points, there is hardly any limit to the range of grotesque effect. 

The closer the contours of a figure conform to the standard, 
— i. e., to perfection of form,-^-the more difficult it becomes to 
produce a caricature that shall be recognized. The talent of 
the artist must then be exercised in procuring the intended 
effect by means of accessories, introducing the humor and ri¬ 
diculous element through them; for, in distinctive caricature, 
the recognition of the individual is of the first importance. 



1 9 . 


One method, where no actual exaggeration of face is admissi¬ 
ble, is to compass a laughable incongruity by placing the care¬ 
fully drawn head upon an absurdly insignificant, (but not neces¬ 
sarily distorted,) body. Take for instance a head like Fig. 
19, which is not readily susceptible of caricature if anything like 
fidelity of likeness is to be preserved, as whatever characteristic 



marks, exist are extremely subtle a id are distributed through¬ 
out the whole. But ridiculous effect is at once procured by 
the addition of a disproportionate body. And divers expres¬ 
sions may be suggested by simply varying the character of the 
body. (Fig. 20.) By distorting the body, still more humor may 
be obtained without in any way detracting from a portrait. 
(Fig. 21). (A good illustration of this method of handling a 



subject may be found in “ Puck’s Gallery of Political Por» 
traits,” drawn by Mr. Kepler.) 

On the other hand the more excessive the divergence from 
the standard, the less difficulty is found in producing both like¬ 
ness and caricature ; and it needs but a trip or two in a New 
York ferry-boat to cause one to realize what very slight alter¬ 
ations some faces would require. The most daring achieve* 















21 . 



ments in grotesque are not so much due to the inventive 
capacities of the artist as to the accumulation of truths drawn 
from actual observation and stored for ready reference. Here 
are a few sketches of actual faces compared with the lines of the 
standard form. The departure from the arbitrary lines in 
























22 . 


these cases is pronounced and were selected for that reason as 
readily illustrating the points referred to. (Fig. 22.) 

A drawing to be “ telling " should have one point or feature 
more forcible than any other. This is especially true of our 
present theme; and, as has been already insisted upon, that 



point should be the one peculiarly characteristic either of the 
individual or of the class to which it belongs. Where simple 
comic effect is sought, (and comic art avails itself largely cf the 
principles noted here) any one portion may be selected as the 
principal feature, the others being less distorted, or offering 
contrast by extreme diminution, (Fig. 23.) Some of these ef¬ 
fects have become almost conventional, and we have learned to 




23 . 


recognize at sight the horses with abnormal heads and youths 
with shoes accommodating two feet and measuring three. 



As an interesting illustration of the humorous effect pro¬ 
duced by suddenly exaggerating portions of a figure, let the 
reader take two pieces of blank paper and cover up, (Fig. 25,) 
the lines above a and below b. We have then simply the picture 
of a good natured hostler chewing a straw, but not particularly 
comic. Now take away the pieces of paper one after the other 
and the effect is at once apparent. The reader will note that 
the absurdity is due to the fact that the whole figure is not 
equally exaggerated ; if it were, a nearer approach to propor¬ 
tion would be established and a consequent loss of the “funny ” 
element. Note also that the added lines emphasize the pecu¬ 
liar curve in the pose of the figure— i. e. , exaggerating a charac¬ 
teristic instead of destoying it. 




% 


24 . 



~Y\<v 









25 - 


I will here direct attention to a pleasing illustration of this 
portion of the subject although it belongs rather to the recreat¬ 
ions of art than to its necessities. Take a piece of paper and 
make a quick stroke or rather “ scribble ” in the center of it. 
Perhaps it resembles one of these, (Fig. 26,) which are selected 



a. 


from some actually made as described. Studying the marks 
attentively we endeavor to find what suggestion they offer of 
a face, or a feature. We discover that the upper part of the 
mark a distantly resembles a nose, so we add the remainder of 
the face and head with the result found in a , Fig. 27. A 
uke process may be applied to b and c. Any amount of amuse¬ 
ment may thus be provided, for, as it is next to impossible to 
get two “scribbles” alike, the variety of grotesque faces pro¬ 
duced will be well nigh endless. 

The above is good practice in applying our knowledge of 
the different aspects of the head, and the following is equally 
valuable and interesting as regards the complete figure : 

Set down, (or allow any one else to do so,) five dots at 
random, (regularly or irregularly,) on a piece of paper. Say 
they occur as in Fig. 28. These represent the extremities of 
the figure, head, hands and feet. Let one be selected for the 
head and then endeavor to draw a figure that shall fill all require¬ 
ments, thus : (Fig. 29.) The necessity of gettingthe hands, head 




and feet into the required places will often test the draughts¬ 
man’s knowledge to the uttermost, but there is always a way 
to do it. 

The cultivation of an acute sense of the ridiculous is the 
very breath of caricature. To be able to appreciate the comic 
side of any subject, and seize upon its salient features, must 
become second nature. That it is but a step from the sublime 
to the ridiculous is the text of the entire theme, and it must be 
the caricaturist’s study to make that step as short as possible. 

As the purport of this little essay is the Elements of Cari¬ 
cature, I have intentionally dealt with the application of first 
principles to the figure alone, (and avoiding complication in 
that as far as possible ;) but they apply with equal force to the 
rendering of all subjects. The general rule to be deduced is : 
Learn first the actual form and characteristics of an object. 
These once mastered we shall know what and how much to 
distort. 

These briefly expressed hints, if carefully and practically 
studied, will enable the reader to provide himself and his 
friends with a limitless fund of entertainment: and if his aim 








27 . 


♦ 


4 

0 


be more ambitious in the range of art, they may serve as a/ 
foundation for a fund of knowledge which his own endeavor 
shall build. 



As pertinent illustrations of the foregoing suggestions I 
refer the reader to the following works of artists who have, to a 
greater or less degree, availed themselves of the principles of 
caricature 

A work entitled “Two Hundred Grotesques by Gustave 
Dore.” The artist here proves himself to be a thorough 



28. 


master of caricature ; a line, by the way, in which he is not 
generally known. These drawings fully demonstrate the 
point, insisted on here, that the more thorough the artist’s 
knowledge of every detail and variety of form, the greater the 
scope for ridiculing it. 

John Teniel, in his cartoons in Punch, seldom or never 
distorts a figure. Indeed as specimens of vigorous figure 
drawing they can hardly be surpassed. The situation and 
accessories are manipulated to tell the required story of which 
the figure is the subject. Not a line is wasted or wanting. 

Lumley Sanbourne, (in Punch,) on the other hand, pro¬ 
duces all his effects by the very broadest and most daring of 
caricature. But whatever liberties he takes with a face or 
figure, the portrait, (if a portrait is intended,) is instantly recog¬ 
nized. 

The double-page cartoons in Puck, drawn by’Mr. Kepler, 
are spirited and often powerful—telling their story aptly and 
instantly, which even the rain-bow tints that serve as a back¬ 
ground cannot wholly obscure. 

Mr. L. Hopkins avails himself largely of the principles of 
caricature in his quaint and clever conceptions. Any drawing 
of his will at once convince the observer that his sense of the 
ridiculous has not only been highly cultivated, but that nature 
must have been exceedingly generous in that respect also. 

The popularity of Thos. Nast’s cartoons in Harper’s 
Weekly were due more to the vigorously expressed sentiment, 
(often conveyed principally in the explanatory text,) than to 
any achievement in drawing, hence, as caricatures they are not 
particularly notable. 


2 9 . 


If the reader has access to any one of these, or to any 
good caricature, (and he shall know of its merit by the manner 
in which it “tells its story,”) let him study it carefully—noting 
whether the force and success of the work depends upon a 
judicious distortion, or in the manipulation of accessories ; or 
whether it is due to the very accuracy of its rendering of actual 
facts, as is the case with the drawings of Du Maurier in Punch, 
which, though not caricatures, are replete with humor Investi¬ 
gation of this kind is a species of study that will enable him to 
discern good from bad, and when he can do that he is a long 
way on the right road. 






































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NEVER PUT OFF TILL TO-MORROW WHAT CAN BE DONE 

TO-DAY. 

NEVER DPXJT OFF TILL TO-MORROW 

ipl^tjptj k\\hmp 

It takes no more time to-day than it will take to-morrow. 


It requires but very little Time and Money to get an 
Accident Insurance Policy in the 


(Ol^AVELEI^S 


• n 


lfiie an 



OF HARTFORD, CONN. 



Policies Written at short notice. No Medical Examination. 

MANY HAVE DELAYED TILL “ TO-MORROW,” AN D 
FOUND IT ONE DAY TOO LATE. 

The time to Iqgufe ig before Accident^ happeq. 

Hew yor^ Office, 

173 BfoadwatJ, 

R. M. JOHNSON, Manager. 







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